Like tape it’ll create low-order harmonics that fill the low-frequency spectrum however, it’ll also amplify our transients and amplify the high-frequency range of the signal, resulting in a present sound. Instead of tape saturation like we used in chapter 3, we’re going to try tube. Watch video example Cut Through Tube Saturation Let’s take a listen, with the EQ from last chapter enabled. I won’t use lookahead this time, but, I’ll use auto-make-up gain to amplify quieter parts of the vocal. Something similar can be said about the quick release, but its effect is less noticeable. Now you might be thinking, why use a quick attack, won’t that capture the transient quickly? That’s true, but if the attack is quick enough, it’ll cut into the transient, distorting it, and in turn actually amplifying it. I’ll just use a clean setting but set my attack as fast as it can go and do the same for the release time, before setting a hard knee. Watch video example Aggressive Vocal CompressionĪfter our EQ, let’s introduce aggressive compression - you can use almost any compressor for this so long as it isn’t Opto. I’ll still want to attenuate my sibilance, but I’ll reduce it to a lesser extent, before boosting frequencies right above it - typically 12kHz and above. Then I’ll attenuate some of 250Hz., before amplifying 3.5kHz with a bell - this will make the vocal stick out of cut through a mix. Let’s begin again with the EQ - but this time we’ll use an 18dB per octave high-pass, right below the fundamental. So in the first 3 chapters, we covered how to start a vocal chain off if you want a smooth vocal, but let’s do the opposite and create an aggressive, upfront sound. Let’s take a listen to our first mini-chain with all 3 processors. Lastly, any good tape emulation will attenuate higher frequencies - so do this consistently, others introduce a cut periodically - either way it smoothes out the vocal. If we use tape emulation, we accomplish a few things - first, we generate low-order harmonics to emphasize lower frequencies in the vocal second, we diminish transients due to the nature of tape. Last up for this small vocal chain, let’s make the vocal full sounding by generating harmonics. Watch video example Full Warm Tape Saturation Let’s take a listen to this compression added after our EQ. All of these settings will quickly capture the transient, attenuate it, and then slowly return the signal to unity, causing a smooth sound. I’ll also use a soft-knee, and 3 to 4ms of lookahead if the plugin offers it. I’ll use an attack of 10ms, and a longer program-dependent release. Let’s add compression to the EQ we used in the last chapter, and again focus on smoothing the vocal out - I’ll use optical emulated compression, so if you have an LA-2A emulation, it’ll work well. Watch video example Smooth Vocal Compression Let’s listen to how the vocal becomes smoother and slightly less defined in a way that could be used purposefully. With this shade EQ, I’ll make the band dynamic, but a regular EQ will work well too. Lastly, we should observe the response and pinpoint our sibilance, before attenuating it. Then let’s subtle boost 250Hz, and dip a little of 3.5kHz, both by only a dB. Let’s start with creating a smooth sound - first, we’ll insert an EQ onto the vocal and use a 6dB per octave high pass filter, we’ll center this right around the fundamental. Then we’ll look at how to add to these quick chains for specific purposes. Get a FREE Mastered Sample of Your Song ➜įor this video we’ll first look at 2 quick ways to start a vocal chain - this will take up chapters 1-6. EQ that amplifies 3.5kHz and quick compression results in a more aggressive sound that can cut through a busy mix. When processing vocals, the initial stages of your vocal chain typically determine the finished sound - EQ that attenuates 3.5kHz and slow compression will result in a smoother vocal.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |